beautiful and the heavenly as "methods for seeing" - hypotheses of seeing reflected changing speculations of Brain/self .


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beautiful and the heavenly as "methods for seeing" - hypotheses of seeing reflected changing speculations of Brain/self and of nature (the eye makes and sees) Pleasant ("from a photo") :.
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pleasant and the heavenly as “ways of seeing” - speculations of seeing reflected changing hypotheses of Mind/self and of nature (the eye makes and sees) Picturesque (“from a picture”) : - a perfect of excellence (18 th and 19 th hundreds of years; embodied in William Gilpin’s On Picturesque Beauty ) - withdrew from neoclassicism by respecting evident rot, issue, and the “natural” - however the “irregular” was prized just to a point – it was contemplated anomaly (it spoke to the keenness as much as to the soul) - loaded with mixture, inquisitive subtle elements, intriguing surfaces, and unpleasantness and abnormality - “Claude” glass as edge - go to find scene as “object” (cf. Dorothy’s diaries) “Pastoral Landscape” (1638) by Claude Lorraine

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responses to the faction of the “picturesque” Jane Austen – Northanger Abbey Henry Tilney addresses on the pleasant to Catherine: she “ was so confident a researcher that when they picked up the highest point of Beechen Cliff, she intentionally dismisses the entire city of Bath, as unworthy to make a piece of a landscape.” The Tour of Dr. Linguistic structure in Search of the Picturesque, the joint work of Rowlandson and Combe was distributed in The Poetical Magazine in 1809 I’ll make a TOUR— and after that I’ll WRITE IT. You surely understand what my pen can do, And I’ll utilize my pencil too:— I’ll ride and compose, and portray and print, And in this way make a genuine mint; I’ll composition it here, I’ll verse it there, And pleasant it ev’ry where. I’ll do what all have done before; I think I shall—and to some degree more. The Passage of the St. Gothard 1804 Turner For, to say truth, I don’t acquire This equivalent picturesquish soul, That looks to nothing however what is unpleasant, And ne’er thinks Nature sufficiently coarse. Their framework does my virtuoso stun, Who see such graces in a dock; Whose eye the beautiful respects In straggling thorns, and in briers; Nay, can a genuine stunner find In a decay’d and spoiled tree.

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magnificent: - Longinus (Greek) - On the Sublime - Edmund Burke\'s Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful (1757) - capacity to bring out exceptional feeling through “terror” - unfathomability, boundlessness; a quality that motivates amazement (cf. Milton’s portrayals of Satanic spaces) - force, power, toughness, fear, and inconceivability; Man with respect to a forcing Nature delightful - - pleasant - - grand littleness, smoothness, nonattendance of rakishness tremendous, overwhelming, remarkable unpredictable, mixture, extent, parity of parts

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Snow Storm: Hannibal and His Army Crossing the Alps 1812 - Turnerâ 

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The Passage of the St. Gothard 1804 Turner - note vert ic a l it y

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Nicholas Poussin Ideal Landscape (17 th century) - note horizon....uh....tality

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John Martin The Bard - 1817

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Preface to Lyrical Ballads (1802 – 3 rd release) a beautiful unrest? key focuses: - set in setting of French Revolution; gives voice/story to generally ignored poetical subjects: the extremely old, the exceptionally youthful, the “mad,” and other social pariahs - nature as a wellspring of otherworldly reclamation and good training - “common” dialect (“the genuine dialect of men in a condition of distinctive sensation” 1436; the writer is a “man identifying with men” 1443; ) - deconstructing chain of importance (i.e. standards of beautiful propriety) - “he [the poet] will feel that there is no need to trap out or raise nature” (1443) - “poetry as the unconstrained flood of capable feelings” – however – “it takes its cause from feeling remembered in serenity - “in arrange totally to appreciate the verse which I am suggesting, it is important to surrender quite a bit of what is customarily delighted in [...] I may have evacuated numerous impediments, and helped my peruser in seeing that the forces of dialect are not all that constrained as he may assume; and that it is conceivable that verse may give different satisfactions, of a purer, all the more enduring, and more perfect nature” (1448) cunning fulfills the insightfulness – nature/feeling fulfills the spirit

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Here slopes and vales, the forest and the plain, Here earth and water, appear to endeavor once more; name the creator of these lines

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Not Chaos like together crush\'d and bruis\'d, But as the world, agreeably confus\'d: Where request in mixture we see,â â â â  And where, tho\' all things contrast, all agree....

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There, interspers\'d in gardens and opening dales, Thin trees emerge that disregard one another\'s shades. Here in full light the chestnut fields stretch out; There wrapt in mists the somewhat blue slopes rise...

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Not glad Olympus yields a nobler sight, Tho\' Gods amassed beauty his tow\'ring tallness, Than what more modest mountains offer here,â  Where, in their gifts, every one of those Gods show up. See Pan with herds, with natural products Pomona crown\'d, Here reddening Flora paints th\' enamel\'d ground, Here Ceres " blessings in waving prospect stand,... Rich Industry sits favoring the fields, And peace and bounty tell, a Stuart rules. Alexander Pope, Windsor Forest (1713)

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Wordsworth and Coleridge have announced an idyllic unrest yet Wordsworth specifically is still plainly piece of the beautiful method of seeing; components of the radiant, then again, are obvious all through his work: ...And I have felt A vicinity that irritates me with the delight Of raised contemplations; a sense superb Of something much all the more profoundly interfused, Whose residence is the light of setting suns, And the round sea and the living air, And the blue sky, and in the psyche of man: A movement and a soul, that instigates All reasoning things, all objects of all idea, And moves through all things. “looking” is disguised as an inventive demonstration (later Romantics, as Keats, would scrutinize Wordsworth – especially the later Wordsworth - for disguising the great to such a degree, to the point that it turned into the pompous radiant (unreasonably conceited); complexity to Keats’ faith in the self-less receptivity needed of the lovely personality  antagonistic ability) “at once it struck me, what quality went to frame a Man of Achievement particularly in Literature & which Shakespeare had so enormously—I mean Negative Capability , that is when man is fit for being in instabilities, Mysteries, questions, with no touchy coming to after actuality & reason.” - Keats in a letter to his siblings, 1817 consider Wordsworth’s method for seeing in “Tintern Abbey”

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Tintern Abbey – portrayal from Gilpin’s Observations on the River Wye From Monmouth we came to, by a late breakfast-hour, the honorable ruin of Tintern-convent , which fits in with the Duke of Beaufort; and is regarded, with its extremities, the most delightful and beautiful perspective on the waterway . In any case, if Tintern-monastery be less striking as a far off item , it displays, on a closer view (when the entire together can\'t be seen) an extremely captivating bit of ruin. The eye endless supply of its nobler parts. Nature has now made it her own. Time has worn off all hints of the etch: it has blunted the sharp edges of the principle and compass, and broken the consistency of restricting parts . The figured adornments of the east-window are gone; those of the west-window are cleared out. A large portion of alternate windows, with their essential trimmings, remain. To these were superadded the decorations of time . Ivy, in masses exceptionally expansive, had taken ownership of numerous parts of the divider; and given an upbeat differentiation to the dim shaded stone of which the building is made: nor was this undecorated. Greeneries of different shades, with lichens, lady hair, penny-leaf, and other humble plants, had over-spread the surface, or dangled from each joint and hole. Some of them were in bloom, others just in leaf; yet all together gave those all out tints which add the wealthiest completing to a ruin. Turner inside of Tintern Abbey, 1794

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Among different things in this scene of destruction, the neediness and wretchedness of the occupants were surprising . They possess little hovels, raised among the cloister\'s remains, and appear to have no occupation yet asking ; as though a spot once committed to slothfulness could never again turn into the seat of industry. As we exited the monastery, we discovered the entire village at the entryway, either transparently requesting contributions, or secretively, under the affectation of conveying us to some piece of the remains, which each could shew; and which was far better than anything which could be shewn by any other person... One poor lady we took after, who had drawn in to shew us the friars\' library. She could hardly creep ; rearranging along her palsied appendages and pitiful contracted body by the assistance of two sticks. She drove us through an old door into a spot overspread with weeds and briars; and indicating the remainder of a smashed order, let us know that was the spot. It was her own manor . All to be sure she intended to recount to us was the tale she could call her own wretchedness ; and all she needed to shew us was her own particular hopeless residence. We didn\'t hope to be intrigued as we were. I never saw so odious a human abiding . It was a natural hollow grandiosely vaulted between two destroyed dividers, which spilled with different shaded stains of unwholesome dews. The floor was earth, yielding through dampness to the tread. Not the merest utensil or furniture of any sort showed up, yet a pathetic bedstead, spread with a couple clothe

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